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Realism in Rawiya P2 Nae / Realism in Rawiya NAE TOURING EXHIBITION REALISM IN RAWIYA P2 NAE / REALISM IN RAWIYA Image credit, Cover: Tanya Habjouqa, from the Women of Gaza series, 2009. Image below: Newsha Tavakolian, from the Listen series, 2011. REALISM INTRODUCTION The New Art Exchange is proud to present Realism in Rawiya: Photographic Stories from the Middle East. IN RAWIYA: Rawiya meaning ‘she who tells a story’ in Arabic, are the first all-female photographic collective to emerge from the Middle East. This exhibition, curated by New PHOTOGRAPHIC Art Exchange and Saleem Arif Quadri MBE, is Rawiya’s first major survey in the UK. The show comprises 56 framed images (with the option of producing select STORIES FROM works as large-scale photo murals), a video piece, copies of interpretation and a beautifully produced exhibition catalogue. Realism in Rawiya presents the THE MIDDLE work of Myriam Abdelaziz, Tamara Abdul Hadi, Laura Boushnak, Tanya Habjouqa, Dalia Khamissy and Newsha EAST Tavakolian. Established in 2009 the idea of the collective was to provide a supportive platform for female photographers in the Middle East. In addition, each of the six artists were united in their desire to tell the stories of their region in their own words. This was in response to the misrepresentations presented by the global press, which they observed whilst working as photojournalists across the Arab world. This shared experience inspired the members to create their own platform, to present what they felt to be the wider political and social stories currently going unseen. P3 NAE / REALISM IN RAWIYA Image Credit: Tanya Habjouka, from The Fragile Monsters: Arab Body Building series, 2009. INTRODUCTION CONTINUED SALEEM ARIF QUADRI, MBE (EXHIBITION CO-CURATOR) ‘We are from different countries and all have different ideas and visions, but as a group we can have a louder Saleem Arif Quadri, MBE was born in Hyderabad, voice. In Persian, we have a saying: if one person claps India, and moved to the UK in 1966 where he studied their hands, nobody hears them, but when many join in, at Birmingham College of Art, and Royal College of the sound will be thunderous.’ 1 Art. In June 2008 he was honoured with an MBE for ‘Services to the Arts’ in the Queen’s Birthday Honours Bridging the worlds of documentary and art, the List. Saleem is a London based artist and curator. selection of works within the exhibition intends to Recent curatorial projects have included: Raghu Rai’s capture the mission of Rawiya: a personal and honest ‘Invocation to India’, ‘Forests of Honey’ by the Mithila/ reflection of life within the Middle East with the Madhubani Women Painters from Bihar, India, and objective of balancing its contradictions while reflecting ‘Madhubani Paintings’. on social and political issues and stereotypes. Inspired by the story of the Rawiya artists themselves, the exhibition also maintains a specific focus on identity and gender. 1Newsha Tavakolian interviewed in www.bazaar-magazine.com, ‘The Storyteller: The Rawiya Photography Collective,’ May 2012. P4 NAE / REALISM IN RAWIYA Image Credits Top to Bottom: Tanya Habjouqa, from the Women of Gaza series, 2009. Tanya Habjouqa, from the Fragile Monsters: Arab Body Building series, 2009. Tanya Habjouqa, from the Jerusalem in Heels: Transsexuals of the Holy Land series, 2006. ABOUT THE ARTISTS & THE SELECTED COLLECTIONS TANYA HABJOUQA www.tanyahabjouqa.com Tanya Habjouqa’s documentary photography takes us through the Middle East’s conflict zones by capturing glimmers of hope, dignity and laughter, with the intention of overriding the region’s emblematic stresses of division and war. Women of Gaza (2009) depicts women and their families walking the fine line between hope and resignation. Above all, the collection tells a story of survival, and depicts the attempts of the people of Gaza ‘normalizing’ life in the most abnormal of situations. Tanya Habjouqa explores male, as well as female identity within her practice. Fragile Monsters: Arab Body Building (2009) presents an alternate view of the supersized contestants within the 17th annual Arab Body Building Championship held in Amman, revealing surprisingly tender, emotional, and insecure moments among the men. In Jerusalem in Heels: Transsexuals of the Holy Land (2006), Tanya Habjouqa portrays the drag queens of Jerusalem. Palestinian and Israeli transsexuals defy politics and social convention. Tanya describes how the individuals she observed “fall in love in a rambunctious displays of heels and makeup. A colourful denial of the darker elements of Jerusalem society.” Ladies Who Rally (2012). Speeding their way through the male dominated Palestinian streetcar-racing scene, the Speed Sisters have been heralded as the Middle East’s first all-female racing team. “Independent, determined and always on the move”, Tanya Habjouqa has captured these women as they have charted their own course through the pressures of social expectations, family dynamics, community politics and an ongoing military occupation. Surviving Lebanon (2006) records the immediate impact of the war on Lebanese children and their families, the devastation of homes and entire villages, recovery efforts, and those civilians returning home to carnage. These images were taken whilst Tanya Habjouqa was on assignment for Bloomberg News. List of works: The Women of Gaza series (2009), framed digital Inkjet prints. 2 images each 53cm x 78 cm - 1 image 106cm x 149cm (approx) The Fragile Monsters: Arab Body Building series (2009), framed digital Inkjet prints. 3 images each 53cm x 78cm - 1 image 106cm x 156cm (approx) The Jerusalem in Heels: Transsexuals of the Holy Land series (2006), framed digital Inkjet prints. 2 images each 53cm x 78cm (approx) The Surviving Lebanon series (2006), framed digital Inkjet prints. 2 images each 53cm x 78cm (approx) Ladies Who Rally (2012), framed digital Inkjet prints,2 images each 53cm x 78cm (approx) P5 NAE / REALISM IN RAWIYA Image Credits Top to Bottom: Dalia Khamissy, from The Missing series, Lebanon, 2010 and ongoing. Dalia Khamissy, from The Abandoned Spaces series, Lebanon, 2007 DALIA KHAMISSY www.daliakhamissy.com Born in Beirut, Dalia Khamissy’s work revolves around the social and socio-political stories in the Middle Eastern region, documenting mostly the aftermath of Lebanon’s wars and issues concerning women’s rights. The Missing: Lebanon (2010 - ongoing) presents us with the reality of the parents who are demanding to know the fate of their loved ones that disappeared during the Lebanese civil war between 1975 and 1990. 17,000 people remain officially missing in Lebanon after being abducted or killed at the hands of different Lebanese militias, PLO, Syria, Israel or their allies. Abandoned Spaces: Lebanon (2007) captures the devastating impact the 2006 Israeli attacks left on Southern Lebanon and its people. Their lives were changed forever. Her images capture the exposed remains of family homes. Amongst the chaos of destroyed settlements, she attempts to document the peace she found in each vacant building, in an effort to return its dignity. Abandoned Spaces: Lebanon (2007) captures the devastating impact the 2006 Israeli attacks left on Southern Lebanon and its people. Their lives were changed forever. Her images capture the exposed remains of family homes. Amongst the chaos of destroyed settlements, she attempts to document the peace she found in each vacant building, in an effort to return its dignity. List of works: The Missing (2010 and on-going), framed digital Inkjet prints. 3 images each 105 cm x 105 cm (approx), 4 images each 51 cm x 51 cm (approx) Abandoned Spaces (2007), digital Inkjet large-scale photo murals. 2 images, maximum size for reproduction each 406 cm x 272cm P6 NAE / REALISM IN RAWIYA Image Credits Top to Bottom: Tamara Abdul Hadi, Picture an Arab Man, 2009 and ongoing. Tamara Abdul Hadi, Picture an Arab Man, 2009 and ongoing. TAMARA ABDUL HADI www.tamarabdulhadi.com Tamara Abdul Hadi was born to Iraqi parents in the UAE in 1980 and raised in Montreal, Canada. Her personal photography projects deal with issues of social injustice and deconstructing stereotypes. Intended to literally picture a new face for Arab males, as an alternative to the ones we are so accustomed to viewing in the mainstream media, Picture an Arab Man (2009 - ongoing) attempts to break down stereotypes of how Arabs have been represented in the West, as well as in the East. By highlighting the sensual beauty of the Arab man, an unexplored aspect of their identity, Tamara challenges the outdated notion of hyper-masculinity that is on the cusp of change within the region. In addition, the collection attempts to break the global stereotypes imposed on the Arab male in a post 9/11 world, providing an alternative visual representation of that identity. List of works: Picture an Arab Man (2009 and on-going), framed digital Inkjet prints. 5 images each 79cm x 110cm (approx) P7 NAE / REALISM IN RAWIYA Image Credits Top to Bottom: Newsha Tavakolian, from the Listen series, 2011 Newsha Tavakolian, from the Mothers of Martyrs series, 2006 NEWSHA TAVAKOLIAN www.newshatavakolian.com Newsha Tavakolian, born in Tehran, Iran, is a self-taught photographer. Her practice focusses on issues pertinent to women, and sits between documentary photography and art. Newsha’s shift from photojournalism to conceptual photography was partly forced by intense domestic political pressures on the media in Iran, and she describes photography as: “a way of breathing within the smothering world of censorship.” In Listen (2011) which comprises works in video and photography, Newsha presents portraits of professional female singers, whom, due to Islamic beliefs, are not allowed to sing solo, perform in public or produce CDs. In Iran, female singers can only sing collectively or as back-up singers for male vocalists. “In my own country I participate, I tell stories that are also my story. For me a women’s voice represents a power that if you silence it, imbalances the society, and makes everything deform.
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